Adaptation Before Cinema highlights a range of pre-cinematic media forms, including theater, novelization, painting and illustration, transmedia art, children’s media, and other literary and visual culture. The book expands the primary scholarly audience of adaptation studies from film and media scholars to literary scholars and cultural critics working across a range of historical periods, genres, forms, and media. In doing so, it underscores the creative diversity of cultural adaptation practiced before cinema came to dominate the critical conversation on adaptation. Collectively, the chapters construct critical bridges between literary history and contemporary media studies, foregrounding diverse practices of adaptation and providing a platform for innovative critical approaches to adaptation, appropriation, or transmedia storytelling popular from the Middle Ages through the invention of cinema. At the same time, they illustrate how these forms of adaptation not only influenced the cinematic adaptation industry of the twentieth century but also continue to inform adaptation practices in the twenty-first century transmedia landscape. Written by scholars with expertise in historical, literary, and cultural scholarship ranging from the medieval period through the nineteenth century, the chapters use discourses developed in contemporary adaptation studies to shed new lights on their respective historical fields, authors, and art forms.
Arvustused
Adaptation Before Cinema is most certainly a welcome introduction to this possibility for the un-siloing of humanities into intellectual common spaces, and it helpfully points towards some opportunities presented by this possibility. the book fulfils admirably the generic promise of the best essay collections, offering a glimpse at a wide range of perspectives, whose heterogeneity remains the primaryattraction. (Joe Kember, Adaptation, September 7, 2023)
Introduction Adaptations Past, Adaptations Future, Glenn Jellenik
and Lissette Lopez Szwydky.- Part 1: Reframing Adaptations Potential,
Historically.- Chapter 1 Of Human Bondage: Recombinant Replications of
Supplication and Social Justice since Antiquity, Mary-Antoinette
Smith.- Chapter 2 Adaptation as the Art Form of Democracy: Romanticism and
the Rise of Novelization, Glenn Jellenik.- Chapter 3 Poetry after
Descartes: Henry Mores Adaptive Poetics, Melissa Caldwell.- Chapter
4 History and/as Adaptation: MacBeth and the Rhizomatic Adaptation of
History, Anja Hartl.- Chapter 5 Fakespeare; or, Authorship by Any Other
Name, Jim Casey.- Part 2: Transmedia Culture-Texts.- Chapter
6 Shakespeares Adaptations of Fairy Stories, Valerie Guyant.- Chapter
7 The Medea Network: Adapting Medea in Eighteenth-Century Theater and Visual
Culture, Katie Noble.- Chapter 8 The Making of Monsters: Thomas Potter
Cooke and the Theatrical Debuts of Frankenstein and The Vampyre in the
1820s, Eleanor Bryan.- Chapter 9 Dante Gabriel Rossetti at the Intersection
of Painting and Poetry, Dominique Gracia.- Chapter 10 Markers of Class: The
Antebellum Childrens Book Adaptations of The Lamplighter and Uncle Toms
Cabin, Maggie E. Morris Davis.- Chapter 11 Alice, Animals, and Adaptation:
John Tenniels Influence on Wonderland and Its Early Adaptation
History, Kristen L. Figgins.- CODA Transmedia Cultural History in/and the
Future of Adaptation Studies, Lissette Lopez Szwydky.
Lissette Lopez Szwydky is Associate Professor of English at the University of Arkansas, USA, and author of Transmedia Adaptation in the Nineteenth Century (2020). She specializes in nineteenth-century literature and culture, adaptation and transmedia storytelling, and gender studies.
Glenn Jellenik is Associate Professor of English at the University of Central Arkansas, USA. His research focuses on long-eighteenth-century adaptation. His essay, The Origins of Adaptation, as Such: The Birth of a Simple Abstraction (Oxford Handbook of Adaptation Studies (2017)), traces the rise of contemporary notions of adaptation to the Romantic period.
